Would You Choose Miles Teller or Callum Turner to Spend ETERNITY With？ (Elizabeth Olsen movie)

I haven't seen that movie in a long time, but I haven't been loving it. I saw it six times in theaters. That's when I got my first makeout. Whoa, stop it. Have you chosen your eternity? We're here to talk about Eternity, a movie about, among other things, a love triangle in the afterlife where a woman must choose between a love that she had that was brief but passionate and a lifetime of marriage. I'm curious, did any of you realize you're making a spiritual sequel to Titanic? Callum actually brought that up. He was talking about, got posed the question, greatest love triangle in film. And he mentioned Titanic. I did not think, no, I did not realize that. You Billy Zaned for a second. No, you're talking about Leo and the old woman that got married. Like you'd be Leo and you'd be the man we never met when she was old. I haven't seen that movie in a long time, but I haven't been loving it. I saw it six times in theaters. That's when I got my first makeout. Whoa, stop it. I hope someone says that about Eternity, by the way. That's where I got my first makeout. That's where your first makeout was, watching Eternity. Watching this 90 year old. I'm really hoping I don't get sued by James Cameron. But yeah, I mean, I think that is the question. Like, is she got to go with Jack or is she got to stay with her husband of how many years? And like, I think most of us, maybe a few lucky few, most of us have more than one love in our lives at different points. And it doesn't take away from, you know, the love of one person doesn't change or diminish the love you had with somebody else at maybe an earlier point. I think what's been amazing in screening this film is how much people have reflected on their own lives after watching it and discussed, you know, discussed their spaces or how much they mean to them or talked about a past relationship. And that's been really lovely to see. We're all human. We all occasionally question what if we had chosen something else. I also just wanted to mention that I appreciated that you I think you leaned into the 1940s golden age that these characters all lived in and, you know, romanticize. And were you looking to comedies of that era? Because this feels like it could go on a shelf next to Sullivan's Travels or the best film ever. Yeah, no, absolutely. I think I've always like I mean, Sturges is a genius and Billy Wilder is my hero. And even Lubitsch, like heaven can wait. So I always aspire to make a film in the spirit of that golden age. I think that's when rom-coms were their best. I think, you know, that's when they won Oscars. That's when they dealt with really heavy topics, but with a lightness of touch. You know, you mentioned Sullivan's Travels is, you know, set in depression and it's, you know, but it's about joy and it's about love and it's about the importance of laughing. And so I really wanted to hopefully add to that tradition. And even though I think the film feels very contemporary, yeah, the spirit is Wilder-esque. One of the things I really like in this movie is obviously for all of your characters, the 1940s is an era where they're very nostalgic. And this movie is part of the appeal, not only that you're doing a rom-com, but a rom-com that feels like it could be of the golden age Hollywood era. Yeah, I mean, it felt like a throwback to the Powell and Pressburger-esque movies that we all love. And what I wanted to do with Luke was, he's at an age where he doesn't yet know who he is yet. He's not become a man. And so he has an idea of what a man is. And these matinee idols like Gary Cooper and Clark Gable, those were his sort of, you know, north stars of what he wanted to present and who he wanted to be. And he's stuck in a world for 67 years in which you don't evolve. And what does that do to someone? That was really my thing to play with. And you still look towards Clark Gable as an example. It's not a bad one, yeah. Once in the scripts, you are Montgomery Cliff, right? Yeah, yeah, exactly. I could definitely see this being a very sweet rom-com for a lot of audiences, because I think it offers a vision of a love triangle where there's not necessarily a right answer. I'm curious for y'all, was it important to have an even balance between what could be viewed as a fiery romance versus something that's maybe a little more soft-spoken, a little more practical? I think that was David's hope. I think David was hoping to show all the different types of loves there are, including Karen's, which is a form of self-love. Or Divine and John's love, you know, could be a more complicated version of a love. But I do know that David spoke into wanting to tell a story about how many ways that love can be experienced. How did you develop the different ideas of what eternity could be? I mean, some of them are very obvious, like going to the beach, and then some of them get very specific. Again, feeding into the bureaucracy of this place, the whole design of The Junction being this trade floor is that you just need people to choose where to go as quickly as possible. So this place, this space does not get clogged up with the newly dead. And so you're just putting things on there that will catch their attention like an advert. It may not be an ideal place to spend eternity, but I think in that daze of post-dying, you'll just go, oh, I wouldn't mind going to Surfworld. You might regret it, but I think that was really important in the design of the space. And I think we obviously would have some ridiculous jokes, which I think are, I love, but behind each of those jokes, there is a truth. There is something that is kind of essential, whether it be, you know, queer people may not want a world with straight people because they kind of weren't very nice to a lot of us. Or, you know, some people are capitalists and do, you know, think there's no point of being rich if somebody else isn't poor. And I think there's something, there is a truth behind each of these things, even though they can be from the ridiculous to the sublime. We kind of just kind of let our imaginations go wild when it came to creating those. So was it your idea to do Weimar, Germany, but without the Nazis? That was mine. I think that was one of the first ones I wrote, and that probably is my favorite. And actually shooting those ads, those kind of infomercials, we did that kind of, it was the very first thing we shot. And it was probably the funnest day. It really set the tone for the whole shoot. We all just laughed from like medical world where you don't need any kind of degree or Weimar, Germany or naked world or kind of naturist world. It kind of created a bond between me and the crew when doing those. And I think I've said it before, but we shot those on DigiBeta. And I'm going to be the Chris Nolan of DigiBetas. I want to bring it back. I want to shoot an entire feature on DigiBetas. It's just my favorite format. Well, Miles, another aspect is we were talking a second ago about how you think people might react to this. And do you want this to be a conversation starter for couples that maybe have something to talk about after the movie? Well, I just think from the experience I've had when we've had these screenings afterwards, just people just want to share things about their own life, whether it's about loved ones or their relationship. I certainly think it is just in its nature, very thought invoking and emotionally invoking as well. I think it's a really beautiful film that kind of gives audiences hopefully everything that they are looking for. She has two choices. Joan has two choices. And Miles is our hero. But do you want to offer an even handed consideration of what I think Miles calls a fiery or a sparkling romance and something that's, let's say it's a little more practical. It was really important to me that there is no right or wrong choice for Joan. I think even though the end of this film feels right to me, she could have chosen a different path. Nobody's going to begrudge her either of these choices, whether staying with her current husband that's been with her for so long and has loved her so much or the life she missed out on. I think you can be team Larry or you can be team Luke, but songs are always team Joan. That was always important to me. And that there is no right or wrong. No matter what happens, one of these people is going to be crushed. And I think that's a huge credit to, I have to say Callum who puts so much kind of depth into the Luke character, the first love. And really brought it as insecurities. And I think you feel the bond with him and Lizzie so strongly that it does feel even handed. It does feel like a tree hander. It doesn't feel like there is a right or wrong. And also it's not a binary choice. She can choose to go with Karen into fake Paris lands. She can choose another path. There's an argument that she had her life, she had her two great loves and now there's an opportunity to do something else. And again, that's perfectly valid. I think that's, I remember a friend reading the script when I sent it and he texted me halfway through going, I bet you she's going to choose neither of them. And I kind of, I love that that's actually something that audiences might question or consider or even want her to do. I think that's vital. It's competition. Yes it is. Sweetheart is 100% for sure competition. It is a factor competition. That's literally what we're here for.